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Books on the topic 'Composers, spain'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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1

Art song composers of Spain: An encyclopedia. Lanham, Md: Scarecrow Press, 2009.

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2

Xavier Montsalvatge: A musical life in eventful times. Hillsdale, NY: Pendragon Press, 2012.

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3

Isaac Albéniz: Portrait of a romantic. Oxford: Oxford University Press, 1999.

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4

Isaac Albéniz: A research and information guide. New York: Routledge, 2016.

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5

Isaac Albéniz: A guide to research. New York: Garland Publishing, 1998.

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6

Clark, Walter Aaron. Enrique Granados: Poet of the piano. New York, NY: Oxford University Press, 2006.

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7

Enrique Granados: Poet of the piano. New York: Oxford University Press, 2005.

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8

The piano in Spain: From its introduction until Joaquín Turina. Madrid: Bassus Ediciones, 2010.

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9

Sacred passions: The life and music of Manuel de Falla. New York: Oxford University Press, 2005.

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10

1953-, Krause William, ed. Federico Moreno Torroba: A musical life in three acts. New York: Oxford University Press, 2013.

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11

Manuel de Falla: A bio-bibliography. Westport, Conn: Greenwood Press, 1998.

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12

Tortella, Jaime. Boccherini: Un músico italiano en la España ilustrada. Madrid: Sociedad Española de Musicología, 2002.

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13

pref, Gérard Yves, ed. Boccherini: Un músico italiano en la España ilustrada. Madrid: Sociedad Española de Musicología, 2002.

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14

Juan Esquivel: A master of sacred music during the Spanish golden age. Suffolk, U.K: Boydell Press, 2010.

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15

Bergamín, José. El epistolario: 1924-1935. Valencia [Spain]: Pre-textos, 1995.

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16

Images of Spain (Composers in Focus). The FJH Music Company Inc., 2001.

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17

Draayer, Suzanne Rhodes. Art Song Composers of Spain: An Encyclopedia. Scarecrow Press, Incorporated, 2009.

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18

Gaspar Cassado : Cellist, Composer and Transcriber:. Taylor & Francis Group, 2016.

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19

Music of Juan de Anchieta. Taylor & Francis Group, 2019.

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20

Knighton, Tess, and Kenneth Kreitner. Music of Juan de Anchieta. Taylor & Francis Group, 2020.

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21

Knighton, Tess, and Kenneth Kreitner. Music of Juan de Anchieta. Taylor & Francis Group, 2019.

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22

Knighton, Tess, and Kenneth Kreitner. Music of Juan de Anchieta. Taylor & Francis Group, 2019.

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23

Hess, Carol. Sacred Passions: The Life and Music of Manual de Falla. Oxford University Press, Incorporated, 2009.

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24

Hess, Carol. Sacred Passions: The Life and Music of Manual de Falla. Oxford University Press, 2009.

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25

Bowen, Meirion, and Roberto Gerhard. Gerhard on Music : Selected Writings: Selected Writings. Taylor & Francis Group, 2021.

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26

Clark, Walter Aaron. Enrique Granados: Poet of the Piano. Oxford University Press, Incorporated, 2011.

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27

Clark, Walter Aaron. Enrique Granados: Poet of the Piano. Oxford University Press, 2005.

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28

Clark, Walter Aaron. Enrique Granados: Poet of the Piano. Oxford University Press, Incorporated, 2005.

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29

Clark, Walter Aaron, and William Craig Krause. Federico Moreno Torroba: A Musical Life in Three Acts. Oxford University Press, Incorporated, 2013.

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30

Clark, Walter Aaron, and William Craig Krause. Federico Moreno Torroba. Oxford University Press, Incorporated, 2016.

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31

Manuel de Falla: His Life and Music. The Scarecrow Press, Inc., 2005.

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32

Harper, Nancy Lee. Manuel de Falla: His Life and Music. Scarecrow Press, Incorporated, 2005.

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33

Gauthier, Andre, and Gauthier. Albeniz (Clasicos de La Musica). Espasa Calpe Mexicana, S.A., 1993.

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34

Christoforidis, Michael, and Elizabeth Kertesz. Carmen and the Staging of Spain. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780195384567.001.0001.

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Carmen and the Staging of Spain explores the Belle Époque fascination with Spanish entertainment that refashioned Bizet’s opera and gave rise to an international “Carmen industry.” Authors Michael Christoforidis and Elizabeth Kertesz challenge the notion of Carmen as an unchanging exotic construct, tracing the ways in which performers and productions responded to evolving fashions for Spanish style from its 1875 premiere to 1915. Focusing on selected realizations of the opera in Paris, London, and New York, Christoforidis and Kertesz explore the cycles of influence between the opera and its parodies; adaptations in spoken drama, ballet and film; and the panorama of flamenco, Spanish dance, and musical entertainments. Their findings also uncover Carmen's dynamic interaction with issues of Hispanic identity against the backdrop of Spain's changing international fortunes. The Spanish response to this now most-Spanish of operas is illuminated by its early reception in Madrid and Barcelona, adaptations to local theatrical genres, and impact on Spanish composers of the time. A series of Spanish Carmens, from opera singers Elena Sanz and Maria Gay to the infamous music-hall star La Belle Otero, had a crucial influence on the interpretation of the title role. Their stories provide a fresh context for the book's reappraisal of leading Carmens of the era, including Emma Calvé and Geraldine Farrar.
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35

Walkley, Clive. Juan Esquivel: A Master of Sacred Music During the Spanish Golden Age. Boydell & Brewer, Incorporated, 2010.

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36

El epistolario. Valencia: Pre-Textos, D.L., 1995.

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37

Jerusalem y Stella, Ignacio. Requiem in E-flat Major (1760). Edited by Dianne Lehmann Goldman. A-R Editions, 2022. http://dx.doi.org/10.31022/c116.

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This volume presents the Requiem, including the Libera me responsory, that accompanied the celebration of the obsequies of King Ferdinand VI in Mexico, composed by Ignacio Jerusalem y Stella (1707–69). This work is the longest and most demanding composition of Jerusalem's career, and it is an impressive liturgical piece given the comprehensive array of compositional styles and instrumentation he employs. This particular piece, as well as Jerusalem's life and career as a whole, occupy the transitional phase between the baroque and classical styles better known as the galant style. In his Requiem, Jerusalem displays his ability to compose in every manner proper to the church during the mid-eighteenth century—homophony, imitation and fugue, baroque-style chord patterns, and classical instrumental and vocal passages. However, his upbringing near Naples in the early eighteenth century, his employment at the Neapolitan conservatory, and his time as a theater composer in Spain and Mexico made him most comfortable with those compositional aspects of the time that align more with the galant style.
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38

Spohr, Louis. String Quartets, Opp. 29 and 45. Edited by Nancy November. A-R Editions, 2022. http://dx.doi.org/10.31022/n085.

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Louis Spohr's string quartets span his career as a composer and engage with the main trends in quartet writing of the time. There are virtuoso quartets, which are intended to showcase the first violinist; concertante quartets, which are suitable for performance in the home by amateurs; and connoisseur quartets, which show compositional skill and challenge the listener. Spohr's quartets not only span all three categories but also frequently blend these types of quartet in ways that contemporary performers and listeners found artful and appealing. This is especially true of the quartets that Spohr composed in the middle of his career. This volume includes two such sets, each of three quartets: op. 29, composed 1813–15 (first published ca.1815); and op. 45, from 1818 (first published 1819).
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39

Christoforidis, Michael. Finding a Spanish Voice for Carmen. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780195384567.003.0008.

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In Chapter 7, the focus returns to Spain, where Sevillian opera singer Elena Fons built on her own local heritage to create a new authenticity as Carmen, applauded throughout the Latin world. The influence of verismo in tandem with the acceptance of Carmen in Spain was to have a significant impact on Spanish composers searching for a national operatic voice, their new lyric works leading to comparison with and ambivalence toward Bizet’s opera. The chapter ends with a case study of Maria Gay, the internationally renowned Catalan opera singer who created a reading of Carmen that was both modern and Spanish, defining it as a verismo role while critically engaging with the layers of Hispanic stereotype it had accrued.
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40

Altenberg, Tilmann, and Klaus Meyer-Minnemann, eds. Europäische Dimensionen des ,,Don Quijote in Literatur, Film, Kunst und Musik". Hamburg University Press, 2007. http://dx.doi.org/10.15460/hup.81.

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Like no other novel, the "Don Quixote" by Miguel de Cervantes has fascinated readers time and again for four centuries. Written in Spain in the early 17th century, which at that time played a major role in shaping the destiny of Europe, the novel soon became the epitome of Spanish literature and culture. From Madrid he started affecting the rest of Europe and inspired thinkers, poets, artists, composers and later also filmmakers. The volume's eight contributions explore central aspects of the Cervantine novel and explore its reception and processing in literature, art, film and music in the European context.
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41

De Lucca, Valeria. The Politics of Princely Entertainment. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190631130.001.0001.

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The Politics of Princely Entertainment explores transformations in the politics of entertainment of the Italian aristocratic classes during the second half of the seventeenth century, a time when profound social and cultural shifts influenced the production and consumption of music. The emergence of commercial theaters in the 1630s in Venice and the great appeal that opera began to have for a large and international audience required the aristocracy to take on a new role within the complex network of agents responsible for the production not only of opera but of music in general. The increasing competition between commercial opera theaters, ruling courts, aristocratic families, and religious institutions, and the consequent professionalization of roles that previously had relied solely on patronage meant that singers, poets, and composers acquired unprecedented negotiating power. These questions are explored following the journeys and ventures of two of the most prominent patrons in seventeenth-century Italy, Prince Lorenzo Onofrio Colonna and his wife Maria Mancini. During the thirty years under examination here, 1659–1689, the Colonna were the most influential and active agents in Roman musical life: they sponsored an unprecedented number of operas, serenatas, oratorios, public ceremonies, and carnival parades while supporting the careers of the most prominent composers, librettists, musicians, and singers of the time. Following the Prince and his wife through their travels to Venice, Spain (as Viceroys of the Kingdom of Aragon), and later Naples, this book traces the journeys not only of scores and librettos, but also of the singers, composers, and librettists whose art reached these faraway corners of Europe, serving diverse social and political purposes.
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42

Vanel, Hervé. Furniture Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037993.003.0002.

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This chapter explores the furniture music of French composer Erik Satie (1866–1925). Satie's pieces of furniture music are each fundamentally based on a short musical fragment, to be repeated ad lib (at one's pleasure). As such, they are intrinsically monotonous and can retain the attention of the active listener for only a short span before boredom inevitably sets in. Vexations (1893), for instance, is a short piece consisting of four repetitive phrases to be repeated 840 times. Strictly speaking, three sets of furniture music by Satie exist. The first set, from 1917, is composed for flute, clarinet, and strings, plus a trumpet for the first piece. The second set, from 1920 and labeled Sons industriels [Industrial sounds], was performed at the Galerie Barbazanges. The last piece of furniture music for small orchestra from 1923, was commissioned by Mrs. Eugè ne Meyer Jr. of Washington, D.C. Tenture de cabinet préfectoral (approximately: Upholstery for a Governor's Office) was delivered by Satie to furnish the library of her residence.
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43

Decker, Gregory J., and Matthew R. Shaftel, eds. Singing in Signs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.001.0001.

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Singing in Signs is a collection of essays from prominent opera scholars that explores the rich interplay of symbols in the operatic genre, while simultaneously providing perspective on the state of opera study. Each author, whether explicitly or implicitly, uses the powerful tools of semiotics (the study of signs) to construct interpretations and discover relationships among music, lyrics, and drama. Authors in this collection use a combination of traditional and emerging methodologies to engage composer-constructed and work-specific music-semiotic systems, broader sociocultural music codes, and narrative strategies. Many of the essays have implications for performance and staging. Singing in Signs answers the call—through the lens of semiotics—to embrace opera on its own terms and to engage all of its constituent elements in interpretation. The purpose of the present volume is to “resurrect” serious musical study of opera—not because it has not been taking place—but in a larger sense as a multifaceted, interpretive discipline, by collecting some of these efforts in one volume. The essays here focus on the musical, dramatic, cultural, and performative in opera and demonstrate how these modes can create an intertext that informs interpretation. Operas explored in this volume span the late Baroque period through the present day, including composers from Handel to Wagner to Britten.
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44

Grabowski, Andrzej. Argumenty i rozumowania prawnicze w konstytucyjnym państwie prawa: Komentarz. Edited by Monika Florczak-Wątor. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381383370.

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LEGAL ARGUMENTS AND REASONING IN THE CONSTITUTIONAL LAW-GOVERNED STATE: THE COMMENTARY The interdisciplinary research on legal argumentation presented in this volume, entitled Legal Arguments and Reasoning in the Constitutional Law-governed State: The Commentary (edited by Monika Florczak-Wątor and Andrzej Grabowski), is primarily inspired by the theory of constitutional law-governed state developed in Italy, Spain, and Latin American countries, by scholars proposing doctrines of positivist or postpositivist constitutionalism and neoconstitutionalism. As explained by Andrzej Grabowski in the “Introduction” [pp. 23–29], the theory is focused first and foremost on legal reasoning as it is conducted in the process of judicial law application and with particular stress on how it is affected by constitutional norms and values. Legal theory on its own does not seem to possess sufficient means to examine legal reasoning in constitutional law-governed states adequately—such an endeavour might be done far better with the help of dogmatics of constitutional law. Hence, this commentary on 91 arguments, topoi, and legal reasoning schemata result from the research team’s joint efforts composed of 18 legal theorists and constitutionalists.
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45

Zinni, Christine F. Play Me a Tarantella, a Polka, or Jazz. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037207.003.0009.

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This chapter looks at the emergence of accordion schools and accordion bands in the United States established by Italian Americans. Approaching the subject from the perspective of grassroots oral history and performance theory, it maps the ways in which the efforts of Roxy and Nellie Caccamise (pioneers of the piano accordion in upstate New York) were connected to a longer history and larger matrix of Italian American musicians, composers, publishing houses, and manufacturers in New York City, Chicago, and San Francisco. The chapter also suggests how the interactions and interplay of peoples within, and through, these community-based networks functioned to create a parallel economy and a cultural space that was not only imbricated in the politics of identity but helped span gaps between folk and fame. Taking an actor/action-centered approach to life-history narratives, it suggests that the accordion schools created by Italian Americans operated through the interstices of two cultures and proved to be a strategic intervention in American cultural life with polysemous meanings.
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46

Brooks, William, Christina Bashford, and Gayle Magee, eds. Over Here, Over There. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042706.001.0001.

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Music in World War I played an important role in cementing the transatlantic alliance among Anglophone and Francophone allies. Chapters 1–5 consider responses to the war by five individuals from three countries: Frank Bridge, Charles Ives, Claude Debussy, John Philip Sousa, and Irving Berlin. Chapters 6–10 gradually expand the focus to ever larger groups of people: women theatre organists in the United States, the Longleat community in England, the greater citizenry of Canada, the service flag and Gold Star mother movements throughout the United States, and the global population devastated by the influenza epidemic. A “prelude,” “interlude,” and “postlude,” which provide context and supplemental material, are co-authored by the three editors, who speak as representatives of England, Canada, and the United States. The whole demonstrates not only the importance of musical exchanges and influences in shaping transatlantic support for the war effort but also the range of contributions made—from unknown amateurs to major composers, from local communities to international populations, and from regions that span a third of the globe.
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47

Shrock, Dennis. Choral Monuments. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.001.0001.

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This book provides extensive and in-depth material about eleven epoch-making choral masterworks that span the history of Western culture from the Renaissance to the modern era. Included are Missa Pange lingua (Josquin Desprez); Missa Papae Marcelli (G. P. da Palestrina); B Minor Mass (J. S. Bach); Messiah (G. F. Handel); The Creation (Joseph Haydn); Symphony no. 9 (Ludwig van Beethoven); St. Paul (Felix Mendelssohn); Ein deutsches Requiem (Johannes Brahms); Messa da Requiem (Giuseppe Verdi); Mass (Igor Stravinsky); and War Requiem (Benjamin Britten). The works are presented in separate chapters, with each chapter divided into three basic sections—history, analysis, and performance practice. Discussions of history include biographical information about composers related to the work at hand, historical perspectives, and text sources. Analyses are focused on formal and musical structures, salient compositional techniques, and elements of music particular to the work being discussed, including parody and motivic organization. The discussion of performance practices includes primary source quotations about a wide range of topics, from performing forces, tempo, and phrasing of each work to specific issues such as tactus, text underlay, musica ficta, metric accentuation, rhythmic alteration, recitative, fermatas, and ornamentation. Musical examples and primary source quotes illuminate the material.
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48

Deudney, Daniel H. All Together Now. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190905651.003.0011.

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Today, swollen numbers of humanity are now intensively interactive and interdependent through vast networks of complex machines and built infrastructures that span the planet, whose unintended consequences and spillovers have grown to species significance. The practical context for all human activities has become a densely occupied and tightly coupled neighborhood. While the content of cosmopolitanism, in its ancient, Enlightenment, and current phases, reflects shrinking geographical spaces, it presumes an Earth composed of different places, rather than a more accurate “terrapolitan” view of Earth as a single place. In the terrapolitan situation, the central problem is not that humans are insufficiently attentive to the needs of distant others. Rather, it is that they are insufficiently attentive to their collective self-interest in survival in the face of existential threats. In part, these limitations stem from the utter novelty of the threats to basic interests that have arisen with such historical rapidity.
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49

Wahrhaftig, Alexandre de Macêdo. La portada del corregidor. Brazil Publishing, 2020. http://dx.doi.org/10.31012/978-65-5861-060-1.

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This is a preliminary examination related to a portal faced of a public building in the city of La Laguna, Tenerife, Spain, carved in the mid-sixteenth century, of rich lines and architectural symbols characteristic of the Renaissance early stage. It was set up in ashlars, of chemical composition and granulometry that gave to it the classification of toba basaltic volcanic, compact granular, reddish in colour. Its high chemical resistance was not able to withstand the 450 years of exposure and at the time of diagnosis its surface had a high degree of dirt adhered and a profound loss of material by disaggregation and breakdowns, what had partially destroyed valuable elements of its characterization. This preliminary investigation fell exclusively on the stone material that composed the faced, although could be observed other elements like roof tile in the ceiling, and carpentry on the window and door. For that reason, the focus of this work has been directed to the stylistic symbolism and diagnose of the main element, being restricted to the stonework, where was the essence of the centennial facade. Therefore, this previous analysis was performed objecting to prepare the base for a restoration work considering the archaeological line of thought, in order to retrieve and maintain its forms and volumes, working on fundamental architectural elements to rescue and ensure to future generations the true message that was exteriorized.
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50

Llorente, Juan Antonio. The History of the Inquisition of Spain: From the Time of Its Establishment to the Reign of Ferdinand VII., Composed from the Original Documents of ... of Subordinate Tribunals of the Holy Office. Franklin Classics Trade Press, 2018.

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